It's not boring. The bright colors and distinctive design definitely DO stand out and it's immediately recognizable. Everyone's talking about it. Designers always complain about the status quo, so we find it surprising that so very few are taking a stand for a somewhat radical design.

It's different. It avoids all the go-to pratfalls of current logo design. No brushstrokes! No feathered drop shadows! No mirrored reflections! No gradients, patriotic colors, rainbows, ribbons, landmarks, symbols of unity, maps, swooshes or globes!

It's reproducable. Aside from the word "London" going chunky when sloppily rendered for the web (notably on the BBC reproduction that ended up on every site critiquing the logo), it's good to see a logo that's so easily printable, broadcastable, embroiderable and moldable (think of how horrible those 9-color rainbow brushstroke logos look when they're process-printed out-of-register with a 100 line screen on a McDonalds Cup!). It even looks pretty great in black and white.

It's flexible. A variety of color combinations, shapes, and patterns are available, keeping the logo slightly different on each view, but consistent (the BBC showed only the pink and yellow version, which didn't help its case). Also, keep in mind that an Olympic logo is almost always saddled with the logos of corporate partners. This square, bold mark will hold up.

It's the basis for a graphic system. Events require a complicated system of signage, identification, ornamentation, and even architecture. This logo and its associated colors, shapes, type and patterns are the perfect starting point for some fantastic signage, event icons, banners, tickets, uniforms and merchandise.

It's timeless. We've read complaints that it's reminiscent of Tangrams (popular since the 1800s), Jamie Reid's "Never Mind the Bollocks" cover (1977), MTV (1981), '80s new wave design (Swatch, Bennetton), Emigre Magazine, early 90s television titles (Wacaday, Going Live, The Ben Stiller Show). We've read complaints that it's too 'current' and it'll look dated by 2012. We've also read complaints that it's too futuristic or modern. As far as we're concerned, all design is influenced by other design. This design rises above its influences, yet remains simple enough to stand on its own. If current trends continue (towards four color, "computery" 3-D), this logo will be even more fresh in five years.

It's English. The two names that come to mind when we hear "british design" are two of our favorite designers of all time: Neville Brody and Peter Saville. Without being a direct knockoff, the 2012 logo is evocative of their work, the punk and new-wave movements, rave culture and everything we like about the United Kingdom.

It's simple. When we hear "my kid could have done that!" we think "success." Some of the greatest logos of all time involve two lines (the Christian cross) or three lines and a circle (Mercedes). Your kid COULD have done that, but she didn't. Nor did she design the graphics standards manual that goes with it. So give it a rest. Or send us her resume.

It cost £400,000. That's probably a bargain for an incredibly high-profile complete graphic identity system for an international company/event designed by experienced professionals. Anyone valuing the importance of design should give that argument a rest, too. We wouldn't have taken the job for a shilling less.
It's unexpected. Chicago is bidding for the 2016 Olympics and the temporary logo is a perfectly decent design. It's attractive, memorable and generally liked. It even generated a fair amount of internet buzz. But those brushstrokes and gradients don't reproduce well, the narrow vertical orientation complicates usage and by 2016, the Sears Tower is likely to be Chicago's third-tallest building. More than anything, the London logo takes the Olympic logo to a new level of boldness, abstraction and simplicity. And we're a bit jealous.

In a BBC vox pop, Londoners expressed their dissatisfaction, „No, I don't like it. I don't like pink color,“ said a woman wearing a dark pink sweater. And, for a laugh, you can read this handy collection of blog quips gathered in an articled titled „The London 2012 logo: the blogosphere is angry“. So what's the big deal?

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This is where I think the London 2012 identity succeeds. Whether you like it or hate it, the work is extremely unique and memorable. More so than any of the last Olympic Games [pop up] and I would even go as far as comparing it with the 1968 Mexico Olympic program in terms of a radical approach. What Wolf-Olins has been able to create is a visual language that can be implemented across all media without succumbing to boring repetition and, again, whether you like it or not, this is an extremely complicated thing to achieve.